In this project, developed as part of a HKU course simulating a real client-developer collaboration, our student team was mentored by Team Reptile, creators of Lethal League. They encouraged us to create a game concept based on something we were passionate about. We decided to design a 2D fighting-rhythm game that rewarded performing moves on beat.
The actions a player makes is reflected in the game's soundtrack, like a guitar chord playing whenever someone lands a hit or the music swelling during combos to make the background audio sound a little more prominent.
As the only person in the group with experience in fighting games, I ended up taking on a large role, giving direction to both the development and artistic process. I wore many different hats throughout the project and learned about what it was like being in that position.
We began this project by conducting research into our target audience by running a small survey with 14 fighting game fans to see how music impacted the way they play video games. Generally, people seemed to think that good music had a lot of influence on the atmosphere of the game they were playing or helped them focus and 86% said they would play a game that connected the two with gameplay mechanics. Some mentioned that they tend to use their own playlists to make the game more intense, and so we decided to focus on using a unique song that would stay interesting, especially since people wouldn't really have a choice but to listen to it to experience the game properly.
I wanted to reward players for hitting combos to a beat, so we also tried to find a song that wasn't too fast, and was predictable enough to reasonably be able to time an attack to. In the end, a friend of our developer offered to make a custom song for our game, which was massively helpful.
We also ran into the issue while prototyping that startup frames made it more difficult to time attacks to a rhythm, so we shortened or removed those frames to make everything feel tighter and more responsive, which of couse in turn made it a much faster paced game and greatly affected the balancing and prediction or "reads" that most fighting games have.
One of my contributions to this project was creating a reference sheet for the artists. Since the animations we needed weren't completely clear yet, I compiled a list of animations we needed for the prototype, along with notes where needed, like how many frames they should last and which other animations they should be able to transition into. This helped keep everyone on the same page and sped up process by a lot.
The most valuable thing I learned from this project came from taking on a position of responsibility, because I had the strongest fundamental understanding of the genre we chose to work with. While it was not too different from previous group projects where I had developed the core concept, it had a bigger impact this time as I was consistently communicating with both developers and artists on what the most typical approach to making these sorts of games was.
I also focused on obtaining feedback from artists on the reference document I put together, and learned how useful it is for artists to have concrete examples of things a designer wants instead of doing that research themselves. While I usually prefer to give artists plenty of creative freedom, this project showed me how useful reference material can be for people working on a project.